Tag: Jackie McLean

Grachan Moncur III recorded Some Other Stuff for Blue Note Records on 6 July 1964. When he entered Rudy Van Gelder‘s studio in Englewood Cliffs, he was already an experienced leader and an established trombonist on the avant-garde jazz scene. Before his debut album, Evolution (Blue Note, 1963), which was recorded the day before President John F. Kennedy was shot, he was an established sideman on records by Art Blakey, Herbie Hancock and Jackie McLean.

Grachan Moncur III

Moncur is known for a “clear-cut style of playing” (Richard Cook) that blends the hard bop of the late 1950s and early 1960s with the emerging free jazz movement. While the standout virtuosity of Evolution has led to a general critical reflect of Some Other Stuff, do not be fooled by the latter’s dismissive title. Moncur assembles a strong lineup that includes saxophonist WayneShorter, pianist Herbie Hancock (between the recording of Empyrean Isles and Maiden Voyage), and drummer Anthony Williams.Among the highlights: ‘Gnostic’ is ominous and meditative in a way that recalls the high points of Evolution; ‘Thandiwa’ is an upbeat piece written and performed in a hardbop style; and ‘The Twins’ steals the show with sustained performances from Moncur, Hancock, and Shorter.

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The alto-saxophonist’s recording for Blue Note documents the tensions inherent in 1960s jazz

Jackie McLean, Destination… Out! (Blue Note, 1964)

On this day in 1963, Jackie McLean stepped into Rudy Van Gelder’s Hackensack studio to record Destination… Out! for Blue Note Records. The album offers an interesting snapshot of the development of jazz during the early 1960s, where bebop and blues begin to give ground to something altogether different: a ‘new thing’, or new ‘avant-garde’.

The alto saxophonist was raised in a New York neighbourhood frequented by some of the most prominent names in jazz. As a young man, he practiced with the likes of Sonny Rollins, Bud Powell, and even found the chops to play in Miles Davis’ band and Art Blakey’s Jazz Messengers.

His style, described by Cook and Morton as “menthol-sharp”, owed more than a small debt to Charlie Parker’s fleet-footed bebop improvisations of the ‘40s, but through his association with Blue Note the musician began to engage with the abstract and exploratory possibilities of free jazz. As such, Destination… Out! moves away from the open accessibility of 1962’s Bluesnik and builds on the progress of what is perhaps McLean’s greatest recording as leader, Let Freedom Ring (1963). (more…)

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An excerpt from a 2011 interview with Chris Richards (The Washington Post)

Mature, precocious, cultured and determined. Aside from a few summers in Maryland, Rollins spent his childhood in Harlem, a cultural epicenter that would shape him into a jazz icon who would steer the trajectory of the genre and the concept of improvisation writ large. As Rollins looks back, the chapters of his life often slice into neat little halves — separate realities where he toggled between success and struggle, renown and solitude. He apprenticed with the bop gods (Charlie Parker, Miles Davis) while battling the dark forces of addiction. At his highest levels of acclaim, he took mysterious sabbaticals that felt like vanishing acts. Today, Rollins says he gets through “this world full of problems” by reaching for higher spiritual plateaus that he “can almost touch,” but never quite does. (more…)

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About

Rhys Tranter is a writer based in Cardiff, Wales. He is the author of Beckett’s Late Stage (2018). His writing has been published in the Times Literary Supplement and the San Francisco Chronicle. In 2016, this website was selected to become part of the British Library’s permanent UK Web Archive. [Read More]

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